Caryl Churchill's Top Girls by Alicia Tycer

By Alicia Tycer

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Churchill concluded the play with a socialist argument that was familiar territory to many of her audience members: the common 'state of the nation' plays of the 1960s and 1970s, which explored British class conflicts, meant that Churchill could condense the concluding debate between Joyce and Marlene because her audience members would recognize her references. 38 Caryl Churchill's fop & Act One: source material Instead of picking famous women, Churchill selected historical figures who would have been largely unknown to her audience members.

The superwoman figure sounds more like a media creation than a career woman that Marlene Analysis and Commentary 53 might actually know, which is supported by the fact that Marlene avoids referring to this acquaintance by name. Additionally, Churchill has previously portrayed all of Marlene's co-workers as single women, and Marlene advised Jeanine to avoid letting employers know that she was engaged or contemplating having children. The image of Marlene's acquaintance breastfeeding in the boardroom seems especially incongruous considering the fastpaced, aggressive and male-emulating work environment that Churchill portrayed in the previous act.

Although Jeanine has a vague idea of wanting to travel, Marlene evaluates Jeanine s potential and suggests some low-level local jobs. Marlene insists that she is risking her reputation by giving her recommendation, and Jeanine agrees that she will do her best to get a job at a lampshade company. 26 Caryl Churchill's Top Girls Act Two Scene 2 The play shifts to an evening in Joyce's backyard in Suffolk. Joyce is Marlene s sister, who still lives in the working-class community in which they grew up.

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